Five motion and 3D pieces made in Blender. Each one started from a question a still could not hold. A lot of the time was failed renders and staring at the viewport.
Each piece started with a question I could not answer in a still. Soft Rains: what is an interface for when the user is gone. Non Spaces: can a room hold a feeling without a person in it. Social Ecology: can field work survive the jump into 3D. Tourists: will the viewer admit they are the subject. Rock and Slope: can a broken physics object be the mechanic.
A retelling of Bradbury's story. An automated house keeps serving a family that is gone. The film is about convenience with nobody left to use it, and about a system that keeps a warm voice after the person is dead. With the house empty, it only has old recordings. It plays them anyway.
I skipped character models. Geometry nodes make a field of chair shells sized for bodies that are not there. The shells stretch as the house fails. The voice is flat text-to-speech over a chopped beat, so the house never sounds like it cares. The question I kept was what a chair is for when there is no one to sit.
Six rooms. Each one is a non-place pushed until the feeling is obvious. Airports, corridors, waiting rooms, car parks. Rooms built to be walked through.
Each room is one state. Anticipation, suspension, deflation, an eerie calm, a crowd, and a place that is too bright at 3am. Augé's non-place is the brief. What does it look like to stay in a room that was only meant as a passage?
The test was whether a room could hold one feeling without a character to perform it. Lighting and set dressing had to do the acting. If a corridor already feels like waiting, adding a sad figure would have been cheating.
A module on social ecology. I went to Sargalaya, a handicraft village in Kerala, interviewed artisans, shot a short documentary, and used that footage and the field recordings in the 3D piece.
The piece tries to keep the work, the trade, and the attention that keep the village going. I used Blender to cut the found images together, not to model the village from scratch.
I was testing whether field recordings and interview stills could survive being pulled into 3D without turning the village into a texture pack. If the weave disappeared, the piece failed.
Three panels about how tourists behave, including me. Three scenes, three types, and the viewer is in the frame.
Three windows on the same bad faith. Each panel has its own colour temperature. Cold for watching, warm for nostalgia, harsh white for the fluorescent kind.
I wanted the tourist to recognize themselves and then flinch. If it read as a joke about other people, the temperature work was wrong.
A first-person game. You push a boulder up a slope that does not let up. It was my first game, so the physics was rough. Some of those mistakes stayed, because they fit.
The boulder was not a sphere, so it sometimes stuck in the slope. That slow stick was safer than letting it roll. You cannot see a finish line. Getting up feels earned because the rock fights you.
I kept the lodged boulder. First-person plus no horizon meant you could not tell if you were winning. That was the thing I was actually building, not a clean physics demo.